Louise of France Princess of Bourbon (1906)

Louise Françoise Marie Laure d’Orléans (1882 – 1958) was a Princess of the Two-Sicilies and maternal grandmother of King Juan Carlos I of Spain. Louise was the youngest daughter of Philippe d’Orléans (1838–1894), Count of Paris and claimant to the French throne as “Philippe VII”. Her mother was Princess Marie Isabelle d’Orléans (1848–1919), daughter of Antoine, Duke of Montpensier, and Infanta Luisa Fernanda of Spain.

On 16 November 1907, Louise married in Wood Norton, Evesham, Worcestershire, UK, Infante Carlos, Prince of Bourbon-Two Sicilies (1870–1949), and widower of Mercedes, Princess of Asturias, Infanta of Spain. The couple lived in Madrid and had 4 children.

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Louise of France Princess of Bourbon, 1906 via

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Louise of France Princess of Bourbon by Léopold-Émile Reutlinger, 1906 via

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Louise of France Princess of Bourbon by Léopold-Émile Reutlinger, 1906 via

Beautiful Belle Epoque Photos of Marcelle Lender

Marcelle Lender (1862 – 1926) was a French singer, dancer and entertainer made famous in paintings by Henri de Toulouse-Lautrec.

Born Anne-Marie Marcelle Bastien, she began dancing at the age of sixteen and within a few years made a name for herself performing at the Théâtre des Variétés in Montmartre.

Marcelle Lender appears in several works by Lautrec but the most notable is the one of her dancing the Bolero during her February 1895 performance in the Hervé operetta Chilpéric. Lautrec’s portrait of her in full costume, her flame-red hair accentuated by two red poppies worn like plumes, boosted Lender’s popularity considerably after it appeared in a Paris magazine. The painting was eventually sold to a collector from the United States, and on her death in 1998 the painting’s then owner, American Betsey Cushing Whitney, donated it to the National Gallery of Art in Washington, D.C.

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Marcelle Lender, 1900s french postcard by Reutlinger via

 

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Marcelle Lender via

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Marcelle Lender via

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Mlle Marcelle Lender. Robe de bal par Doucet via

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Marcelle Lender via

A Collection of Vintage Photos featuring Princesse Clara Ward

The story of Clara Ward (1873 – 1916) is poorly known today, but in the early 1890s she was the toast of the United States.

She came to the public’s attention in 1889 or early 1890 when it was announced that the distinguished Belgian visitor to the United States, Marie Joseph Anatole Pierre Alphonse de Riquet, Prince de Caraman-Chimay, a member of the Belgian Chamber of Deputies, had proposed marriage to the very young, very attractive daughter of a very wealthy family.

That her husband-to-be was more than twice her age, quite poor, and even, perhaps, not very handsome, seems to have been of minor consequence.

They were married on 19 May 1890, in fin-de-siècle Paris. Ward was now properly styled “Princesse de Caraman-Chimay”, but usually went by “Clara, Princess of Chimay”. Americans were ecstatic about their new princess.

Some time after the birth of their second child, probably in 1896, the Prince and Princess Chimay were dining in Paris, at what may be expected to have been a suitably elegant establishment. Present at the restaurant was a Hungarian, Rigó Jancsi, who eked out a living providing Gypsy music.

After a series of secret meetings, Ward and Rigó eloped in December 1896. The Prince and Princesse de Caraman-Chimay were divorced on 19 January 1897. The new couple married, probably in Hungary.

Not too surprisingly, Clara Ward, still usually called the Princess Chimay, soon found her resources dwindling. The never-very-full Chimay coffers were certainly closed to her, and although Ward was resourceful, her American family had to intervene from time to time to straighten out her tangled finances.

Her main talents were being beautiful by the standards of the time, and being famous. She combined the two by posing on various stages, including at least the Folies Bergère and probably also the Moulin Rouge, while wearing skin-tight costumes. She called her art-form her poses plastiques.

Perhaps the income from this odd occupation was sufficient for the couple to live reasonably well. The idyll was not to last, Rigó being unfaithful to her. They were divorced fairly soon after their marriage, either shortly before or after Ward met her next true love, one Peppino Ricciardo, sometimes stated to have been Spanish, but who was most likely Italian. He is believed to have been a waiter whom she met on a train.

They married in 1904, but Peppino Ricciardo probably did not last long. The timing is vague, but Ward’s next true love, and her last husband, is thought to have been a station manager of the little Italian railroad that helped visitors tour Mount Vesuvius, a Signore Cassalota. Ward is believed to have still been married to her fourth husband when she died in Padua, Italy, on 9 December 1916, aged 43. There was a rumor that she died a pauper with nothing left except a few jewels. But the American Consul at Venice stated publicly that she “was in possesion of a very large income and lived in a manner befitting its possessor

In her lifetime she had spent much time in both the society and gossip columns of two continents. She had been widely known, envied and admired, desired, loathed and reviled. She was often photographed, and featured on many postcards during the Edwardian period, sometimes in a pose plastique and sometimes in more or less conventional dress.

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A young Clara Ward

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Clara Ward, postcard via

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Clara Ward, Postcard via

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Clara ward via

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Clara Ward, Postcard via

Clara Ward with Rigo Jancsi – Triomphe de la Femme, 1905 via

Clara Ward, by Léopold-Emile Reutlinger, ca. 1905 via

 

A Collection of Vintage Photos featuring Maud Allan the Salomé Dancer

Canadian pianist-turned-actor, dancer and choreographer Maud Allan (1873 – 1956) was born as Beulah Maude Durrant. She spent her early years in San Francisco, California, moving to Germany in 1895 to study piano at the Hochschule für Musik in Berlin. She changed her name in part by the scandal surrounding her brother Theodore Durrant, who was hanged in 1898 for murder. Allan never recuperated from the trauma of this event. She abandoned piano-playing and developed a new means of self-expression through dance.

Shortly before she began dancing professionally Allan is said to have illustrated an encyclopedia for women titled Illustriertes Konversations-Lexikon der Frau.

In 1906 her production “Vision of Salomé” opened in Vienna. Based loosely on Oscar Wilde’s play ,Salomé, her version of the Dance of the Seven Veils became famous (and to some notorious) and she was billed as “The Salomé Dancer”. Her book My Life and Dancing was published in 1908 and that year she took England by storm in a tour in which she did 250 performances in less than one year.

Allan is remembered for her “famously impressionistic mood settings”. She was athletic, had great imagination and even designed  and sewed her own costumes. But she had little formal dance training. She was once compared to professional dancer and legend Isadora Duncan, which greatly enraged her, as she disliked Duncan.

Around 1918 Allan’s popularity began to take a turn. In a hope of earning back some of her public adoration she starred in a private performance of the ‘Vision of Salome’ and irked homophobic right-wing nationalist MP Noel Pemberton Billing. Mr Billing wanted Allan’s downfall as there was a rumor circulating that she had a lesbian affair with Margot Asquith, the wife of former prime minister Herbert Asquith. He believed that Allan and the Asquiths were all German spies; which he implied in an article. Allan sued Billing for criminal libel, but she lost the case.

Hence, from the 1920s on Allan taught dance and she lived with her secretary and lover, Verna Aldrich. She died in Los Angeles, California.

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Maud Allan, ca. 1906 via

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Maud Allan as Salome, ca. 1906 via

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Maud Allan as Salome, c.1906 via

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Maud Allan as Salome, ca. 1906 via

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Maud Allan by Bassano, 1913 via

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Maud Allan by Reutlinger, 1909 via

Glamour Portraits of Stage Actress Ellen Baxone by Reutlinger (1905)

Ellen Baxone was an actress, who was living in Paris at the beginning of the twentieth century.

She is known for her role in the humorous short film about the world of cinema C’est pour les orphelins (1916)

In 1907 she starred alongside Alice de Tender in the play Imbroglio Princier at La Scala in Paris.

In addition to portraits by Reutlinger, she is also known for a postcard portrait designed by Gustave Brisgand.

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Belle Epoque Stage Actress, Miss Ellen Baxone, Covered in Silk. French Photo Postcard by Reutlinger, 1905 via

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Belle Epoque Stage Actress, Miss Ellen Baxone, Covered in Silk. French Photo Postcard by Reutlinger, 1905 via

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Belle Epoque Stage Actress, Miss Ellen Baxone, Covered in Silk. French Photo Postcard by Reutlinger, 1905 via

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Belle Epoque Stage Actress, Miss Ellen Baxone, Covered in Silk. French Photo Postcard by Reutlinger, 1905 via

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Belle Epoque Stage Actress, Miss Ellen Baxone, Covered in Silk. French Photo Postcard by Reutlinger, 1905 via